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| Sunday, 17 March 2002 |
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'Sondura Warnadasi' an opera by Premasiri Khemadasa by Lester James Peries
It was a sad moment in the history of modern music in Sri Lanka when Maestro Premasiri Khemadasa appeared on stage at the Lionel Wendt Theatre to confess to the audience that he just hadn't the money to provide them with a program note. He however did say a few words about his new opera - 'Sondura Warnadasi' which were hardly adequate, even though the opera was based on a popular Jataka story. That an artiste a musical innovator a composer who had more than any other striven to extend the boundaries of Sri Lankan music explored the uncharted world of new sounds new rhythms attempted to fuse the best of our folk heritage, Indian classical ragas and the Western musical tradition, should be denied patronage at a time when every cheap vulgar initiative pop peddler has commercial banks and blue chip companies rushing to sponsor so called musical extravaganzas,is indeed a shocking indictment of our arts establishment. It would not be fair to judge the production of Khemadasa's new opera with the achievements of his previous oratories, operas and symphonies. This is by its very nature and purpose meant to be a student production, a showcase of talent drawn from the students of the Khemadasa School of Music. Practically all of them are newcomers from rural areas selected after a two year rigorous training period. What is even more surprising is that practically the entire cast is appearing on stage for the first time. This is their first appearance in a public performance. From this point of view this is a remarkable production. The libretto of the opera is based on the celebrated tale of a courtesan who falls in love with a bandit condemned to death, obtains by her overpowering charms his pardon only to face bitter private anguish when her love for him is unrequited. An outline of the story gives little idea of the enormous demands made on the principal characters particularly SAMA. (a brilliant debut by Dilika Abeysekera) and Surikala Purapathi and Dhanapala Sithuthuma all of them I understand appearing for the first time in roles which in terms not only of singing, but in dramatic playing, dancing and miming demand professional expertise. The music, based as it is, according to the composer on Indian classical ragas is both innovative and intensely lyrical - the distinctive sound of Khemadasa's musical style. Only a few moments show a lapse in taste, a party and a song sequence which sounded like a refuge from film-scenes which disturbs the unity of the opera's splendid musical style. However, I leave it to the professional music critic to analyse the work with more critical expertise rather than my own concerts which are at best that of an impassioned advocate and admirer. A word on the libretto. Lucien Bulathsinhala would not be out of place despite the verbal felicities, one did miss a clearer narrative line in what is a complex tale of romantic human emotions. In conclusion I would advise every lover of serious music and musical theatre not to miss 'Sondura Warnadasi' if only as a revelation of young people from the rural centres of Sri Lanka, discovered, nurtured and trained by the Khemadasa Foundation. For this Foundation has despite many obstacles attempted to do what Harold Rosenthal the celebrated music critic has said. "For opera to survive as an art form the opera house must not
become a museum but remain a living theatre and therefore it is essential
that new ideas in music in drama in scenic design should be admitted,
otherwise it will become a stuffy, fossilised musty repository of out of
date ideas.' Nureyev danced best in Shakespeare roles by Gwen Herat
After his defection from Russia on 17th June, 1961 Rudolf Nureyev never looked back and danced his way to the top to be considered the greatest dancer of the last century with his dazzling virtuosity, controlled expressiveness and electrifying charisma. As well as dancing all the leading roles of the classics and standard works of the modern repertory, he created hysteria among ballet goers some of whom who came to see this enigma without even knowing what ballet was. Of all Nureyev's partners, Margot Fonteyn found the Nureyev brand of volatility perfectly understandable. Whereas all his other partners found him too hot to handle when he exploded which was often, Fonteyn would let the storm vent itself, never reacting in kind which paved the way to consummate artistry of two of the century's most wondrous dancers. Nureyev brought twentieth century sorcery to an ancient art. He was as famous for his temper as he was for his dancing. Only Fonteyn understood his art and moods to perfection while others quivered in fright at his repertory, long enough to miss their steps which made Nureyev explode and sometimes march off the stage.In the sixties buzz, the international explosion and self expression had not arrived in public conscience. So with his entry to the West after his famous defection, Nureyev was the exotic addition to the longest queues in one-act-ballets. Opera was the call of the day with Maria Callas dictating the night calls from the stage while ballet had taken a back seat with Fonteyn musing to end her career. Came the comet and Callas found her pedestal cracking long enough to be dropped by the elite who rushed into the box seats to take a glimpse of the shooting star. The first night's plaudits and brouhaha rent the Covent Garden and the echoes continued until he was laid to rest in 1993. Nureyev had arrived. He was entirely unfledged in matters of money and fame. All he wanted was a break and with the KBG on his trail (set up by the Russian government) he sidestepped them to be the greatest dancer and the richest of them all. Russia was smarting and the word got around much to their embarrassment that 'the best young Russian had bolted to Paris'. After his initial debut, Nureyev took control over the ballet scene including the Royal Ballet with a very willing-to-learn-more-Margot Fonteyn' who had by now banished the idea of retiring though double his age. She realised the enigma was to stay and became the century's sex-symbol. His extremely good-looks and perfect physique as never seen in ballet before along with athletic feline-like leaps, gave new dimensions to ballet companies around the world. He danced all the characters in all ballets, classical as well as in contemporary but loved dancing mostly Shakespearean characters. He danced sensitively and with emotion characters such as Romeo and Hamlet from those tragedies that prompted ballet goers to pick up Shakespeare plays and read them to feel the impact of the players. Most of these people had never studied Shakespeare. He is best remembered for a great contribution he made for his beloved art: He placed the male dancer centre stage. Up to his entry to the West, the male dancer was only a figure in the ballet or a supportive figure to the main ballerina. He changed it so fast that the audiences had eyes only for him and other brilliant male dancers. He created male costumes that were suggestive and sex-appealing, adding glitter and gold into them. Make-up was subdued to look less feminine and more and bare-bodied characters were seen dancing. He revolutionised ballet into such extent and no one dared question him. He had a very sensitive ear for music and composers were amazed at his knowledge if ever they missed a notebecause Nureyev was the first to react. With a great sense of musicality, he was able to pick the scores for all his ballets with Tchaikovsky as his favourite. He would react to music and leap like a panther or thump like an elephant. In my opinion, Nureyev was at his best in Gisselle though many believe it was Romeo and Juliet. When he danced a classic, there was nothing left for imagination or improvement. Nureyev often said he danced best when he was tired. I missed him on two occasions by appointment and he told me over the telephone that we were never destined to meet. When he died soon after this chat, I was devastated but his memory haunts me continuously. In the latter stage of his life, Rudolf became an equally outstanding choreographer as well. He also raised the baton to conduct a few orchestras because of his passion for classical music. |
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